Just a few things first.  I must say that 400 Blows is a great movie and I am glad that someone else talked about it on here.  ALso, CCC, sorry about you not having any love for Metropolis.  It's not my faovrite Lang film (that would be M for so many reasons).  I try to stay away from it but that's just because it was pretty much the only film that I had to dissect over and over in college because of film classes and German classes.

Yesterday I watched a real classic: The Breakfast Club.  As I was watching this film I realized something.  I had a similar experience in high school.  The scene where they are all sitting around and Brian says "you guys won't speak to us on Monday."  Then Claire says "We'll say hi and then cut you down behind your back to our friends."  Yeah, I had the same experience when I was in high school.  Pretty much the same conversation.  That brought this movie to a whole new level for me.  And it also made me realized that Emilo Esteves is a tard.

Today I watched Picture Perfect with Jennifer Aniston.  Jennifer was pretty much the only reason I watched it because I really like her as an actor.  I wouldn't recommend it to anyone because it was a stupid chick flick.  I really hate chick flicks.  Now I must redeem myself by watching something not so icky like a Johnny Depp movie...

At the very end of each episode, it could suddenly and without warning cut to an overhead shot of the inside of a well, with the two of you falling away from the camera into darkness: "AAAAAAAaaaaaaaa..........". Credits.

Then, next episode, you're both fine, as though nothing happened.

I'll take a co-producer credit, thanks.

Episode Two- Super Cool Robot Hitler 

Enter Straw.

Straw: I just saw Keanu Reeves' new movie. Hey, remember in Bill & Ted's Bogus Journey when they're falling through that black void, screaming, and then they catch their breath, but they're still falling, so they start screaming again? Remember that?

Reveal Cyborg Elenor Roosevelt.

C.E.R.: Heil Hitler!

END.

That pure randomness will surely bring in the kind of audience Robot Chicken only wishes it had.

Thanks a lot for your help, creative consultant. Wink, wink.

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I recently saw Tideland. Stylistically, and on the merit of acting, this movie blew me away. Very well put together Very well acted.

Then there is the plot..... which is unbelievably twisted. Like... sertiously un-ba-fucking-OMG-WTF-lievable creppy/twisted/wrong.
The biggest thing about the movie being so twisted is that the main character is played by someone who can't be more than 10 or 11 years old... and this is the type of thing that will scar her for life. This girl is going to grow up sevearly damaged from having taken part and witnessed the type of crazy shit that went on in this movie.

Again I say that this movie is very well done, and actually enjoyable I thought. But this movie is twisted in ways I never could have imagined. And it just kept getting crazier and crazier.

Fall in a well and die... Like Samara from The Ring.

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

twitter/ josephallenart 

josephallenart.com 

"Every day holds a new beginning and every hour holds the promise of an Invitation to Love." 

We all float down here seems an IT reference!

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

 Still one of the best horror/suspense/slimy monster films ever made. To quote Guillermo Del Toro, I love the "fluids and tentacles and viscera!!"

I just caught a great old italian B-movie called Planet of the Vampires what it lacks in action and pacing it makes up for in mod leather space suits, superbly creepy sound design and a heroic effort to make a polyethylene bag look like a scary ghost, oooooh! The plot, as far as I could follow, and the presence of giant mummified aliens, is quite similar to Alien, I'm certain Ridley Scott was influenced by it.

Dune.
This was my second viewing of this much maligned movie. It is not as horrible as most people say, and I will rate it above Mulholland Dr. if only on a visual basis (neither are very interesting story-wise).

Day of the Dead.
Here's what you need to make a zombie movie the George Romero way:
1. A desolate building.
2. A bunch of honkeys.
3. One black guy.
4. Lots of zombies.
5. The subtext that man is probably a bigger threat to himself than the zombies are.

I'm not a fan of the original Night of the living dead (I have yet to see Dawn), and this movie was really quite dull, with the exception of Bub. Bub is played by the guy who gets a junior mint in his body during surgery in an episode of Seinfeld.
When there's no more scenery to chew, the dead will steal the show. Yawn.

AVP: Alien vs. Predator.
Paul Anderson does it again.

The Producers (1968)

One of the very few Mel Brooks films that is actually not spoofing anything specific (unless you count it as a spoof of Nazis and Broadway shows in general). Consequently one of his funniest and most evenly scripted. Surprisingly, the homosexual caricatures are actually less cringe-worthy in the '60s version than the 2005 remake. The Beatnik character, however, has not aged well, though I suppose he's really quite spot-on if you consider him in context.

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I just watched Apocalypse Now, the 2001 extended remix.  A heretical decision, I gather, given that I've never seen the film in its entirety before.  I suppose someday I should watch it as originally released, but it won't be soon.

And now I finally know what "Charlie Don't Surf" means .  It's nice how, by the end, the Robert Duvall character seems completely sane. 

You should consider buying The Complete Dossier, which gets you both versions for the price of one.

Anyway, I last watched Harold & Maude, a deservedly cult classic. 

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Yeah, the one I rented was the Complete Dossier, and you do switch discs just after the puppy arrives. By that point, an intermission isn't an entirely unwelcome intrusion, and they chose as graceful a point as possible.

As far as Hearts of Darkness -- which I saw before seeing the actual movie, but long enough ago that any spoilers weren't fresh in my mind -- it's a compelling enough film that I'll probably buy it anyway.

Taxi

You just know that Jimmy Fallon wasted a couple million feet of film because of his inability to "act", or keep a straight face.
They should have hired me, I didn't smile once.

Cavite
This a thriller shot on the cheap in the streets of the Phillipines. A remarkable amount of drama is wrung out of one guy and a cell phone. The protaganist must carry out a series of tasks to save his kidnapped mother and sister. Muslim extremism is the mechanism for the conflict, but the political message gets muddled by the end. That aside, the story is taut and the gritty setting really helps draw you in.

Damn! Wish I'd paid attention to this thread earlier. Oh well. Thank you for including me in your big perverted grope-disguised-as-group-hug experience.

On Friday I finally watched When the Levees Broke: A Requiem in Four Acts, a film I'm surprised nobody else has mentioned at all. I thought it was nice to see the POV of a lot of the residents of New Orleans who lost their homes and experienced the chaos first-hand. But I felt that the film worked too hard to place the blame back on FEMA and the Federal government. Kathleen Blanco and Ray Nagin were almost depicted in godlights and it frustrated me, especially since by their own admissions they'd failed to do what needed to be done ahead of time, and it flew in the face of the stuff they'd said in the few weeks after Katrina (such as Nagin stating that they'd had a plan to use the school buses to get people out but hadn't planned on the area flooding; in the film he says they had no idea how they were going to help all the residents who didn't have vehicles. Wha-?). On the up side, Nagin and Blanco kind of sold each other out while at the same time making themselves look a little silly (Nagin and Blanco admitting that while thousands of people were suffering at the Convention Center and Super Dome, they'd bathed and lunched on Air Force One with GW...nice. ) Anyway, the rest of the film was OK. I think it dragged too much in some parts...I appreciate that Spike Lee wanted to give us that shock of seeing pre-Katrina NO versus post-Katrina NO, but instead of being a shock, it just kind of stung a little and then gave way to numbness and boredom.

A tiny piece in the middle of the third "act" gave a little love to all the coastal towns in Mississippi that were pretty much wiped off the face of the earth. Kind of like Lee was grudgingly admitting that yeah, some places actually DID have it as bad as NO. How nice of him. I was bothered by the segment wherein they discussed the Kanye West incident. So many people spoke on his behalf (including himself...how nice), saying how refreshing it was. Not a single person was shown saying "You know...I disagree with what he did" and that grated my cheese a little. So much for a "documentary."

Overall, I think Lee could have shaved at least an hour off the film and gotten the same effect. The best part of it was the people who were giving props to other people involved, such as the big thumbs-up the Coast Guard got for being the fastest and most-involved respondents, the Canadian Mounties who arrived before our own National Guard even did, and the various residents who took to the waters themselves to help find survivors. Unfortunately, Sean Penn got his props as well, which was annoying. Granted he did do a lot of helping, but I still believe it was less about helping and more about publicity. Feh.

One funny (odd funny, not ha-ha funny) side-note to it all...the movie actually made the Super Dome and Convention Center experiences sound better than we'd originally been led to believe. I mean, it was still horrible, but the film basically debunked all the information surrounding rapes and murders and beatings. Huh.

~ Amanda

"Just fear me, love me, do as I say and I will be your slave..."

"Every day holds a new beginning and every hour holds the promise of an Invitation to Love." 

I agree with you on that amazing movie. And it's true that it's very anti-climatic.

Tonight I am going to watch Almost Salinas (I read on IMDB there is also Ray Wise playing a small role), about James Dean I suppose... not quite sure if it's a biopic or not, I'll check it out.

Last night I watched Rear window , the TV remake (1998) starring Christopher Reeve, Daryl Hannah, Robert Forster and Allison Mackie. Okay, it's just a tv thriller but I think it's quite above the tv standards. The performances are all enjoyable and the ending catchy. I've never seen the original Hitchcock movie - don't shoot me, please! - and I'm going to watch it as soon as I find a renting version. But I'm not quite a James Stewart fan, although the plot and ideas of Vertigo are incredible I hated him also in that pathetic role!

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

Barton Fink

Watched it for the second time last night. Already it takes its place as my favorite Coen Brothers' film. Note that I only have Lebowski, O Brother, and The Ladykillers to compare it to. I will abstain from the quotes barrage, since the last "Last Movie" thread had nearly the whole screenplay reprinted.

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That god damn trailer's more popular than Uncle's Day in a whorehouse!

The Aviator
A biopic that takes its nearly 3 hr. running time and uses it. Stylized look at Old Hollywood through the 20's, 30's, and 40's. Any reservations about Leo's casting are forgotten about in the wake of his performance.

Broken Flowers
Bill Murray showing us more of that wacky, wise-cracking persona that we enjoyed in such films as Ghostbusters and Meatballs.
... Not so much.
A reserved, contemplative character drama, only not as dull as that sounds. Eclipses the overrated Lost in Translation. Beautifully shot by Fred Elmes.

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